Roy Lichtenstein Haystack #3
Roy LichtensteinRoy Lichtenstein Haystack #31969
1969
About the Item
- Creator:Roy Lichtenstein (1923 - 1997, American)
- Creation Year:1969
- Dimensions:Height: 20.5 in (52.07 cm)Width: 30.75 in (78.11 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:Washington, DC
- Reference Number:Seller: RLHS3461stDibs: LU544312066562
Roy Lichtenstein
Roy Lichtenstein is one of the principal figures of the American Pop art movement, along with Andy Warhol, James Rosenquist, Claes Oldenburg and Robert Rauschenberg.
Drawing inspiration from comic strips, Lichtenstein appropriated techniques commercial printing in his paintings, introducing a vernacular sensibility to the visual landscape of contemporary art. He employed visual elements such as the halftone dots that comprise a printed image, and a comic-inspired use of primary colors gave his paintings their signature “Pop” palette.
Born and raised in New York City, Lichtenstein enjoyed Manhattan’s myriad cultural offerings and comic books in equal measure. He began painting seriously as a teenager, studying watercolor painting at the Parsons School of Design in the late 1930s, and later at the Art Students League, where he worked with American realist painter Reginald Marsh. He began his undergraduate education at Ohio State University in 1940, and after a three-year stint in the United States Army during World War II, he completed his bachelor’s degree and then his master’s in fine arts. The roots of Lichtenstein’s interest in the convergence of high art and popular culture are evident even in his early years in Cleveland, where in the late 1940s, he taught at Ohio State, designed window displays for a department store and painted his own pieces.
Working at the height of the Abstract Expressionist movement in the 1950s, Lichtenstein deliberately eschewed the sort of painting that was held in high esteem by the art world and chose instead to explore the visual world of print advertising and comics. This gesture of recontextualizing a lowbrow image by importing it into a fine-art context would become a trademark of Lichtenstein’s artistic style, as well as a vehicle for his critique of the concept of good taste. His 1963 painting Whaam! confronts the viewer with an impact scene from a 1962-era issue of DC Comics’ All American Men of War. Isolated from its larger context, this image combines the playful lettering and brightly colored illustration of the original comic with a darker message about military conflict at the height of the Cold War. Crying Girl from the same year featured another of Lichtenstein’s motifs — a woman in distress, depicted with a mixture of drama and deadpan humor. His work gained a wider audience by creating a comic-inspired mural for the New York State Pavilion of the 1964 World's Fair, he went on to be represented by legendary New York gallerist Leo Castelli for 30 years.
In the 1970s and ’80s, Lichtenstein experimented with abstraction and began exploring basic elements of painting, as in this 1989 work Brushstroke Contest. In addition to paintings in which the brushstroke itself became the central subject, in 1984 he created a large-scale sculpture called Brushstrokes in Flight for the Port Columbus International Airport in Ohio. Still Life with Windmill from 1974 and the triptych Cow Going Abstract from 1982 both demonstrate a break from his earlier works where the subjects were derived from existing imagery. Here, Lichtenstein paints subjects more in line with the norms of art history — a pastoral scene and a still life — but he has translated their compositions into his signature graphic style, in which visual elements of printed comics are still a defining feature.
Lichtenstein’s work is represented in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, Tate Modern, and many others. He was awarded National Medal of Arts in 1995, two years before he passed away.
Find a collection of Roy Lichtenstein prints, drawings and more on 1stDibs.
- ThanksgivingBy Yaacov AgamLocated in Washington, DCArtist: Yaacov Agam Title: Thanksgiving Medium: Screenprint in colors on Arches Year: 1980 Edition: XXXIV/LXIII (34/63) Sheet Size: 30" x 42" Image Size: 27 1/8" x 33 1/2" Signed: Ha...Category
1980s Abstract Abstract Prints
MaterialsScreen
- Niagara Series IVBy Larry ZoxLocated in Washington, DCArtist: Larry Zox Medium: Serigraph Title: Niagara Series IV Year: 1980 Edition: 81/175 Signed: Hand signed in pencil Sheet Size: 42 1/4" x 29 3/4"Category
1980s Abstract Prints
MaterialsScreen
- Scissors JackBy Larry ZoxLocated in Washington, DCArtist: Larry Zox Medium: Serigraph Title: Scissors Jack Year: 1978 Edition: XIV/XXX Sheet Size: 29 1/2" x 39" Signed: Hand signed in pencilCategory
1970s Abstract Prints
MaterialsScreen
- Derriere le Miroir #201By Alexander CalderLocated in Washington, DCArtist: Alexander Calder Medium: Lithograph Title: Derriere le Miroir #201 Portfolio: Derriere le Miroir #201 Year: 1973 Edition: Unnumbered Framed ...Category
1960s Abstract Prints
MaterialsLithograph
- Plate 2, from Derriere Le Miroir #156By Alexander CalderLocated in Washington, DCArtist: Alexander Calder Title: Plate 2 (Derriere le Miroir #156) Portfolio: Derriere le Miroir #156 Medium: Lithograph Year: 1966 Edition: Unnumbered Frame Size: 21" x 29 1/4" Image...Category
1960s Abstract Prints
MaterialsLithograph
- Vision of Paris, Lithograph from Mourlot Lithographe IBy Marc ChagallLocated in Washington, DCArtist: Marc Chagall Title: Vision of Paris Portfolio: Mourlot Lithographe I Medium: Lithograph Year: 1960 Edition: Unnumbered Framed Size: 22" x 19" Image Size: 12 1/2" x 9 1/2" Sh...Category
1960s Fauvist Figurative Prints
MaterialsLithograph
- Rainbow: colorful Rosenquist pop art with gold, turquoise, purple, pink, blueBy James RosenquistLocated in New York, NYA classic Rosenquist pop art composition with gold, turquoise, purple, pink, blue, green and yellow. Characteristically surreal and graphic, Rainbow incorporates bold geometric forms with painterly washes of color and airbrush texture. Rosenquist's signature gleaming metallic chrome texture can be seen on an inverted fork behind the glass of a golden window. Paper 25.25 x 30.25 in. / 64 x 77 cm Image 17 x 21.5 in. / 43 x 54.5 cm Lithograph with screenprint on cream-coloured Hodgkinson handmade Wookey Hole paper. Edition of 75 with 8 color trial proofs: this impression 8/8. Signed and dated 1972 lower right in pencil; titled, numbered 8/8 and labeled Color Trial Proof lower left in pencil. This graphic, colorful scene is based on Rosenquist’s 1962 oil painting of the same name, collected in the Museum Ludwig in Cologne. The artist used real glass and wood to construct windows for the original painting – here, house siding is abstracted to bold, black horizontal lines, and the window glass is printed in dark gold ink. At the top of the composition, a window with shutters pushed open is colored in turquoise, with sharp black shadows. The left-hand window pane is shattered, and to the right, the outline of an oversized...Category
1970s Pop Art Figurative Prints
MaterialsLithograph, Screen
- Truck I (VEL 105; Knestrick 77)By Red GroomsLocated in Fairfield, CTArtist: Red Grooms (1937) Title: Truck I (VEL 105; Knestrick 77) Year: 1979-1980 Medium: Lithograph, screenprint, rubber stamp impressions on Arches paper Edition: 36, plus 11 artist...Category
1970s Pop Art Figurative Prints
MaterialsLithograph, Screen
- Pop Art Aspen Road Sign D'arcangelo Silkscreen Chiron Press Vintage Art PosterLocated in Surfside, FLAllan D'Arcangelo (American/New York, 1930-1998), "Aspen Center of Contemporary Art", 1967 silkscreen, hand signed in pencil, dated, numbered "45/200" and blind stamped "Chiron Pre...Category
1960s Pop Art Abstract Prints
MaterialsLithograph, Screen
- UntitledBy Billy Al BengstonLocated in San Francisco, CAArtist: Billy Al Bengston – American (1934-2022) Title: Untitled Year: 1990 Medium: Lithograph, silkscreen on Arches paper Sight size: 19.5 x 25.5 inches. Sheet size: 24 x 30 inches. Signature: Signed lower right Publisher: Cirrus Editions, Ltd., Los Angeles, CA Edition: 250 This one: 120/250 Condition: Excellent This print is by Billy Al Bengston. It depicts what looks like a coyote staring out at the horizon on a full moon night. This print was created at the same time Bengston was creating his Moon paintings. The print has dark colors. As a result, my photographs are imperfect; they have a bit of glare. The print is in excellent condition. It is attached by two hinges to a matboard measuring 26 x 32 inches and has a Plexiglas frame. The frame is in fair condition with some light scratches. Billy Al Bengston (June 7, 1934 – October 8, 2022) was an American visual artist and sculptor who lived and worked in Venice, California, and Honolulu, Hawaii. Bengston was probably best known for work he created that reflected California's "Kustom" car and motorcycle culture. He pioneered the use of sprayed layers of automobile lacquer in fine art and often used colors that were psychedelic and shapes that were mandala-like. ARTnews referred to Bengston as a "giant of Los Angeles's postwar art scene." Early life and education Bengston was born in Dodge City, Kansas, on June 7, 1934. His family relocated to Los Angeles in 1948. He attended Los Angeles City College in 1952. Subsequently, he studied painting under Richard Diebenkorn and Saburo Hasegawa at the California College of Arts and Crafts, in Oakland, California, in 1955 and returned to Los Angeles to study at Otis Art Institute in 1956. Career Bengston began showing with the Ferus Gallery in Los Angeles (founded and run by Walter Hopps and Edward Kienholz, and later Irving Blum), having five shows between 1958 and 1963. As a fixture at the gallery, he was among a cohort of artists that included Kienholz, Ed Ruscha, Larry Bell, Kenneth Price, Ed Moses, and Robert Irwin. (The gallery closed in 1966.) In a 2018 article in Vanity Fair, Bengston recalled that he and Irwin hung the 32 pieces in Andy Warhol's Campbell's soup-can paintings show at Ferus in 1962. He notably described the atmosphere of Ferus as a "macho intellectual gang bang". After seeing the work of Jasper Johns at the 1958 Venice Biennale he adopted the motif of a set of sergeant's stripes. This recurring chevron image was painted with industrial materials and techniques associated with the decoration of motorcycle fuel tanks and surfboards. According to Grace Glueck of The New York Times, Bengston "was among the first to ditch traditional oil paint on canvas, opting instead for sprayed layers of automobile lacquer on aluminum in soft colors, achieving a highly reflective, translucent surface." Bengston encouraged viewers in the early 1960s to associate his art with motorcycle subculture; on the cover of a 1961 catalogue for a Ferus show, he was seen straddling a motorcycle. (He also competed in motocross competitions.) "When I painted these motorcycle paintings...Category
1990s Pop Art Animal Prints
MaterialsLithograph, Screen, Paper
- "Waco" Serigraph by Billy Schenck, 1981By Billy SchenckLocated in Los Angeles, CABill Schenck Waco Serigraph 7/58 1981 Hand signed, date and numbered by Schenck in pencil. 25.75 inches H. x 25 inches W. 'Waco' is classic early example...Category
Late 20th Century Pop Art Landscape Prints
MaterialsScreen
- Bill Schenck, "Days Of August" Serigraph, 20/83, 1987By Billy SchenckLocated in Los Angeles, CABill Schenck Days Of August Serigraph 20/83 1987 Hand signed, date and numbered by Schenck in pencil. 29.50 inches H. x 38.50 inches W. A classic, stunning early example of the iconography of the artist Bill Schenck's 'Pop Western' work. Schenck is of the originators of the contemporary 'Pop' Western Art...Category
Late 20th Century Pop Art Landscape Prints
MaterialsScreen